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Gordon Matta‐Clark's Conical Intersect: “Luxury will be king”

机译:戈登·马塔(Gordon Matta)–克拉克的圆锥形相交:“豪华将是王者”

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By 1975 the Plateau Beaubourg (“beautiful village”) and the entirety of the land known as the Les Halles section of Paris had been subject to an extensive programme of reconstruction inaugurated some 22 years earlier. During the demolition phase of the project, the area took on the general appellation “Le trou des Halles” (The hole of Les Halles) or “Le grand trou”. The old Les Halles car park became the projected site for the Centre Georges Pompidou. The American artist Gordon Matta‐Clark chose to work at Plateau Beaubourg precisely because of the controversy caused by the demolition and subsequent dispersal of the community, as well as the projected nature of the future site as a cultural centre. The resulting artwork, Conical Intersect (1975), and its problematic critical reception provide a series of interpretive opportunities that form the matrix of this essay. Conical Intersect recalls, on the one hand, a history of place, whilst, on the other hand, dramatising a situation where communities are evicted from the land: dispersed, made powerless. The specific form and reception of the artwork illustrates the tension between the narratives of historical progress — as embodied, for example, in the construction of the Pompidou Centre — and the destruction of site that was its prerequisite. This cultural tension is the subject and object of this essay as Conical Intersect becomes, by way of its particular morphology and its own inevitable erasure (its self‐effacement), emblematic of memory, loss, condescension and contradiction, artistic and “political” naivety, confusion and the powerlessness of communities over the possession and use of the land.View full textDownload full textRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/14797585.2011.574057
机译:到1975年,博堡高原(“美丽的村庄”)和整个被称为巴黎莱斯·哈勒斯(Les Halles)地区的土地都经历了大约22年前开始的大规模重建计划。在该项目的拆除阶段,该地区的总体称呼为“ Le trou des Halles”(Les Halles洞)或“ Le grand trou”。旧的Les Halles停车场成为了蓬皮杜中心的预计用地。美国艺术家戈登·马塔·克拉克(Gordon Matta·Clark)之所以选择在博堡(Plateau Beaubourg)工作,恰恰是因为拆除和随后社区分散引起的争议,以及未来地点作为文化中心的预期性质。由此产生的作品《圆锥形相交》(1975)及其有问题的批判性接受提供了一系列解释性机会,这些机会构成了本文的基础。圆锥形相交一方面让人回想起地方的历史,另一方面让人联想到社区被驱逐出土地的情况:分散,无能为力。艺术品的特定形式和接受程度说明了历史进步的叙述之间的张力,例如在蓬皮杜中心的建造中体现的张力与对遗址的破坏之间的张力是前提。这种文化张力是本文的主题和对象,因为圆锥形相交通过其特殊的形态和自身不可避免的擦除(自我消失)成为记忆,丧失,屈尊与矛盾,艺术和“艺术”的象征。政治上的天真,混乱和社区对土地的拥有和使用的无能。查看全文下载全文相关的var addthis_config = {ui_cobrand:“泰勒和弗朗西斯在线”,service_compact:“ citeulike,网络病毒,微博,微博,technorati,美味,linkedin,facebook,stumbleupon,digg,google,更多”,发布号:“ ra-4dff56cd6bb1830b”};添加到候选列表链接永久链接http://dx.doi.org/10.1080/14797585.2011.574057

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    《Journal for Cultural Research》 |2011年第2期|p.173-192|共20页
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    Peter Muir;

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  • 入库时间 2022-08-17 13:09:17

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